ROMANTIC & CLASSICAL MUSIC HISTORICAL INSIGHT NEW PERSPECTIVES

BLUE MOUNTAINS YABBA YABBA RESIDENCE SATURDAY 16 SEPTEMBER 2017 | 4.00PM “WHAT A GREAT TIME TO BE A HIPSTER ... THERE’S AN INFECTIOUS ENERGY AND SYDNEY A SENSE OF ENTHUSIASM THAT TURNS CITY RECITAL HALL AN ARCO INTO AN EVENT.” SUNDAY 17 SEPTEMBER 2017 | 2.30PM

LIMELIGHT MAGAZINE MELBOURNE MELBOURNE RECITAL CENTRE FRIDAY 22 SEPTEMBER 2017 | 7.30PM

ADELAIDE HILLS UKARIA CULTURAL CENTRE SUNDAY 24 SEPTEMBER 2017 | 3.00PM

ARCO.ORG.AU REVOLUTIONARY GOVERNMENT PARTNERS MEDIA PARTNERS ROMANCE SPOHR & MOZART

PRODUCTION PARTNERS VENUE PARTNER REVOLUTIONARY ROMANCE ARCO CHAMBER SOLOISTS SPOHR & MOZART

BASSET CLARINET Nicole van Bruggen (Noosa) ARCO CHAMBER SOLOISTS Agnès Guéroult, Paris, 2006

NICOLE VAN BRUGGEN BASSET CLARINET SOLOIST VIOLIN Rachael Beesley (Melbourne) violin: Franz Geissenhof, Vienna, 1811 bow: John Dodd, London, c.1780 Louis Spohr (1784-1859) String Sextet in C major Op.140 (1848) Anna McMichael (Sydney) - Allegro Moderato violin: Camilli Cammilus, Mantua, Italy, 1742 bow: Basil de Visser, (1756-1791) Clarinet Quintet in A major K.581 (1789) - Allegro Simon Oswell 1 (Melbourne) - Larghetto viola: Giovanni Battista Guadagnini, Piacenza, Italy, 1791 - Menuetto - Trio I - Trio II bow: Louis Simon Pajeot (11), Paris, 1830 - Allegretto con variazioni Jane Rogers (Rugby, UK) INTERVAL viola: Jan Pawlikowski, Krakow, 2008, after Guarneri bow: Brian Tunnicliffe, London, 1985, after John Dodd Wolfgang Amadeus Mozart Grande Sestetto Concertante in E flat major K.364 (1779) VIOLONCELLO - Allegro maestoso - Andante Mime Yamahiro-Brinkmann (Stockholm) - Presto cello: Anonymous, Milan, c.1750 bow: Luis Emilio Rodriguez, , 2000

Natasha Kraemer (Yarra Valley) cello: John Barratt, London, 1743 bow: Roger Doe, Cranbrook, Kent

This concert will last approximately one hour and thirty minutes, 1 appears by arrangement with Melbourne Conservatorium of Music including a twenty minute interval. Pitch A=430Hz

1 2 LOUIS SPOHR (1784-1859) PROGRAM NOTES ALLEGRO MODERATO FROM STRING SEXTET IN C MAJOR OP.140 (1848)

The ARCO Chamber Soloists welcome you to the world of 1848 saw a huge wave of revolutions across Europe, from the Age of Revolution. The Industrial Revolution of the early 19th led by a loose alliance of working and middle class century changed the way of life for millions of people, and stimulated workers, people who desired better working conditions, the reformists, and the middle class to rise up and challenge long-entrenched formation of independent national states and an end world-views. The American, French, and German Revolutions changed the to feudalism. Spohr was sympathetic to these causes, very fabric of society in previously unimaginable ways. In light of the upheaval and left a note in the margin of the original score of throughout the civilised world, it is little wonder that small, comforting and the String Sextet in C Major, saying that it was written secure performance settings were so prized. Works for small ensembles from ‘at the time of the glorious people’s revolution...and this time were often intended for performance with family and friends, and reawakening of Germany.’ were designed to provide both general enjoyment and satisfaction to musical connoisseurs. Public performances of small-scale works were also valued by In his lifetime, Spohr was esteemed as a violinist and audiences, versed as they were in the challenges of private chamber musicking. composer, and highly sought-after as a teacher. His and operas, although rarely heard today, were popular and significant works throughout the 19th century. However, it is his works for violin, Spohr: Self portrait including chamber works, which represent his true passion. He wrote more violin than any other composer in the first half of the 19th century, as well as 36 string quartets and an assortment of other chamber works, including one of his greatest compositions, the sublime String Sextet in C Major Op.140.

Spohr described the violin as an instrument able to express the deepest and most tender emotions, and suited to singing like a human voice. The Allegro Moderato from the String Sextet in C Major has an undeniably singing style, playing quartets and gives some indication of what Spohr meant when he described the violin bow as the ‘soul of playing’. He even devised exercises for practising the ‘slow drawing’ of the bow, ideal for achieving changes of dynamic throughout long Today we showcase our world-class performers on period instruments, and notes. Tantalisingly, Spohr also wrote that playing music as it appeared on a explore the variety of timbre and expression offered by violins, and cellos score was merely achieving a ‘correct’ style, while achieving a ‘fine’ style required strung with gut, and the unusual basset clarinet. The works we have chosen a sense of where to apply unwritten ornaments such as portamento, vibrato, are true musical gems of the chamber music repertoire. These compositions and tempo modification (rubato). It is comments such as these which have led were born into a time of turmoil, and reflect the spirit of innovation which was today’s performers to ask what he might have meant, and to experiment with awakened among composers and the population in general. the information available to us from treatises, scores, letters, and by playing on historic instruments and bows with period setups.

3 4 WOLFGANG AMADEUS MOZART (1756-1791) WOLFGANG AMADEUS MOZART CLARINET QUINTET IN A MAJOR K.581 (1789) GRANDE SESTETTO CONCERTANTE IN E FLAT MAJOR K.364 (1779)

Mozart wrote the Clarinet Quintet for a close This work is better known in its original form, the Sinfonia Concertante friend, the virtuoso clarinettist Anton Stadler. It K.364, composed in 1779. The original version is scored for solo violin, was Stadler’s playing that caused Mozart to fall in solo viola, two oboes, two horns, and strings, including a divided viola love with the sound of the clarinet, inspiring him section. The Sinfonia Concertante represents a genre which long resisted to compose the Clarinet Quintet, the Clarinet definition and categorisation, but which is best described as a merging of , and the Kegelstatt Trio. On 22 concerto and . It showcases a group of instruments similar to a December 1789, Stadler performed the premiere , but does not tend to pit orchestra against soloists in true of the Clarinet Quintet in the Burgtheater in concerto style, favouring instead a minimal accompaniment on the part of Vienna with Mozart himself on viola. the orchestra. It was popular in Paris during the 1770s, and it is likely that Mozart was inspired to try his hand at it after hearing or seeing examples Mozart’s compositions for Stadler were intended during his European tour. The Sinfonia Concertante K.364 is without doubt for performance on a new kind of instrument: Mozart’s most masterful work in this style. the basset clarinet. This clarinet possessed an extended range and was capable of a wide The arrangement you will hear today was published in an uncredited Mozart: Oil painting by variety of timbres. Unfortunately, Stadler lost edition in 1808 by Sigmund Anton Steiner. Although this arrangement Barbara Kraft (1764 - 1825) both the instrument and the original scores retains the relaxed, happy mood typical of the Sinfonia Concertante for the Clarinet Concerto and Quintet, much to Mozart’s wife Constanze’s genre, the parts are divided equally among the six players, creating disgust (she exclaimed that he probably pawned them). Today you will hear a a true chamber work rather than the original format of soloists with copy of the original instrument, masterfully reconstructed from nothing more accompaniment. Although we do not know who the arranger was, this than descriptions and a picture on a concert advertisement, discovered by a type of adaptation was common, fuelled by the insatiable appetite of sharp-eyed musicologist in 1992. The result is extraordinary, and informs our amateur players for music, and in particular music by famous composers. understanding of Mozart’s compositions immensely. Mozart’s name as a composer had been fastidiously groomed since his death by his wife Constanze Mozart, creating an image of genius and In 1785, a music critic wrote of Anton Stadler: “One would never have purity which almost became myth. It was the beginnings of the Romantic thought that a clarinet could imitate the human voice to such perfection”. Such view of composers, and artists in general, as set apart from the common comparisons with the human voice were clearly a benchmark of expressive man. It also provided Constanze with a source of income as a widow in quality in both Mozart and Spohr’s time. The idea that instruments could be as possession of the original scores of a great man. expressive as a voice is an interesting one for historically-informed musicians. It reflects active comparisons between music and speaking, so central to Baroque Megan Lang and Classical performance practice, and the gradual evolution towards a more Education Manager singing style (cantabile). This evolution was in tandem with a growing Romantic fascination with instrumental music’s ability to communicate emotion on a level beyond the reach of words.

5 6 wide range of odd looking MY BASSET CLARINET instruments being created A WORD FROM NICOLE VAN BRUGGEN while everyone made their own interpretation of this significant instrument. The basset clarinet is one of my favourite clarinets, partly because it could easily have passed into history and been forgotten, despite being a Then, in the early 90s, wonderfully expressive and beautiful instrument. a musicologist was researching in Riga, Latvia, Its story begins with Mozart the Freemason: it was at this prestigious men’s when she came across club that he became friends with virtuoso clarinettist Anton Stadler and master the iconography pictured clarinet builder Theodor Lotz. Together, the three worked on creating a new here. This illustration on clarinet, one which had a larger range than the usual clarinet with the addition Stadler’s concert program of four ‘basset’ or low notes. The extra keys required for these new notes were was a wonderful discovery skilfully added to the back of the clarinet, where they could be reached by the for basset clarinet builders right thumb – usually only needed to support the instrument. Why these three and they all set to work to innovators should be interested in extending the lower range of the clarinet adapt their instruments to becomes clear when one hears the tonal colours made possible by the added recreate the original. I say instrument length, and the extraordinary resonance created by replacing the ‘they’, however 18th-century clarinet bell with a bulbous bottom joint. Not to be confused with the basset basset clarinet building is horn, it was for the basset clarinet that Mozart composed his two masterworks; an even more niche market the Quintet K.581 and the Concerto K.622. than 18th-century basset clarinet playing and there were really only three or four builders world-wide working on this at the time. My builder in Paris, Agnès Stadler’s basset went missing during his travels and this unfortunate event nearly Guéroult, from whom I have a number of beautiful, hand-crafted clarinets, was stumped those of the 1970s historical performance movement who wished to one of these few and we worked together to create my gorgeous basset clarinet so play Mozart’s music on the instrument for which it was written. Admittedly, that it would be ready for me to play during the Mozart commemoration year in even if the instrument had survived, it would possibly be of little help. Unlike 2006. I only use this basset clarinet when I perform the Quintet or the Concerto. string instruments from the 18th century, woodwind instruments rarely improve Sadly, Mozart didn’t live long enough to leave us any more repertoire for this with time. The combination of condensation and wood causes the instruments wonderful instrument. to deteriorate in most cases. Clarinet builders have perfected the art of x-raying original instruments and taking exact measurements of both the outside and I hope you enjoying listening to this beautiful basset clarinet as much as I enjoy the inside to recreate the originals as closely as possible and many also work playing it. with original tools and building techniques. In the absence of an original instrument, these craftsmen and women experimented for decades with various forms of the basset clarinet which they based on written reviews of Stadler’s and their own building experience. You can imagine, though, that with descriptions similar to the one I have made above of the bulbous lower section which was referred to in one review as a ‘sideways smoking pipe’, there was a

7 8 NICOLE VAN BRUGGEN BASSET CLARINET

Originally from Sydney, Nicole performs worldwide and is a highly respected exponent in historical clarinet, basset horn, basset clarinet and chalumeau. She is passionate about Classical and Romantic chamber music and has recorded numerous CDs presenting this rich repertoire.

Nicole is Principal Clarinettist, Artistic Team member, co-founder and General Manager for the Australian Romantic & photo: Nick Gilbert Classical Orchestra. She has been and Kwartet André with Rachael Beesley, Simon Murphy, Mimé Yamahiro-Brinkmann and Nicole van remains principal clarinettist in many of Europe’s finest historical instrument Bruggen, The , c.1999 orchestras such as Concerto Copenhagen (Denmark), Barokksolistene (Norway), (Holland) and Arte dei Suonatori (Poland). She has also performed with Australian Brandenburg Orchestra, The Netherlands Bach Society, Tafelmusik (Canada) and Les Musiciens du Louvre (France). In 1999, Nicole won prizes at the prestigious Flanders Festival Competition in Bruges with her fellow colleagues for this program, Rachael Beesley and Mimé Yamahiro as Kwartet André.

In addition to her performing career, Nicole is committed to music education, particularly associated with Historically Informed Performance (HIP). She regularly conducts education projects in schools and tertiary institutions and participates in forums offering advice as specialist in HIP and as Arts Manager. Nicole is currently teaching historical clarinet at the Sydney Conservatorium of Music and recently tutored at Australian Youth Orchestra’s National Music Camp. She has been a panel member for examinations at the Royal Conservatorium in The Hague and at the Utrecht Festival, advising emerging artists on the formation and presentation of chamber music.

Nicole was awarded the Queen’s Trust Scholarship to study in The Netherlands. ARCO Chamber Soloists with Rachael Beesley, Anna McMichael, Heather Lloyd, She returned to Australia in 2012 with her husband and two children after living Daniel Yeadon and Nicole van Bruggen, Sydney 2016 in The Netherlands for seventeen years and now lives on the Sunshine Coast.

9 10 RACHAEL BEESLEY ANNA MCMICHAEL VIOLIN VIOLIN

Rachael Beesley is an internationally Anna lived in The Netherlands for 17 renowned Australian violinist, director, years during which time she performed concertmaster and educator specialising at many European music festivals with in the field of historically informed a number of Dutch chamber ensembles performance. Guest concertmaster and toured extensively with groups such with Europe’s most distinguished HIP as the London Sinfonietta, Amsterdam ensembles and orchestras including Anima Sinfonietta Chamber Orchestra, Eterna Brugge, La Petite Bande and the Nieuw Ensemble, ASKO/Schoenberg New Dutch Academy, guest director of Ensemble, The Netherlands Chamber Les Muffatti - and NZBarok Orchestra, Ensemble Modern and the - Auckland, Rachael has performed in Royal Orchestra. She has festivals and concert halls worldwide. recorded for numerous European labels. photo: Nick Gilbert photo: Vibrant Images In Australia, Rachael is director/concertmaster of the Australian Romantic & In Australia, Anna has performed as Principal Second Violin with the Australian Classical Orchestra, which she co-founded in 2013 and has performed as guest Romantic & Classical Orchestra, Guest Artist at Canberra International concertmaster with the Australian Brandenburg Orchestra, Pinchgut Opera, Music Festival, soloist and member of Melbourne Chamber Orchestra, Guest Opera Australia and Victorian Opera. Rachael is regularly invited to guest Associate Concertmaster of Adelaide Symphony Orchestra and Concertmaster direct modern orchestras from the violin, including the Tasmanian Symphony of both Orchestra Victoria and Auckland Philharmonia.Anna has performed Orchestra, Melbourne Chamber Orchestra and Adelaide Chamber Players. with Ensemble Offspring, Pinchgut Opera and Omega Ensemble and is a Rachael also features on over 50 album recordings and broadcasts for radio and member of Ironwood. Anna has tutored at Australian National Academy television and is much in demand as a chamber musician and soloist, regularly of Music (ANAM), the Canberra School of Music and appeared with the collaborating with contemporary Australian composers as well as exploring Australian World Orchestra since 2011. She has performed festivals such as repertoire from the 17th- to 20th-centuries on period instruments. Port Fairy Spring Music Festival, Mona Foma Festival and the Peninsula Music Festival. Anna has recorded for the Tall Poppies label together with pianist As a highly regarded teacher and mentor, Rachael teaches at the Royal Tamara Anna Cislowska, a solo release on the Dutch label, Unsounds, and in Conservatoire in The Hague, The Netherlands and the Sydney and Melbourne 2017 with the pianist, Daniel de Borah. Anna is Co-Director of the Tyalgum Conservatoriums and is guest lecturer and director at the School of Music, Music Festival. Monash University and the Australian National Academy of Music. Specialising in Practising in Flow, she has been invited to speak at conferences in Australia, tyalgumfestival.com.au New Zealand and The Netherlands. Rachael has been awarded an Ian Potter Cultural Trust grant and is listed in the Who’s Who of Australian Women. rachaelbeesley.com

11 12 SIMON OSWELL JANE ROGERS VIOLA VIOLA

Simon studied in Australia and the United Welsh born violist Jane Rogers studied at States. He gained awards in the National the Royal Academy of Music with John Concerto competition and co-founded White, Stephen Shingles and Jan Schlapp. the Petra String Quartet in Tasmania. She was a member of the European Simon has performed and recorded Union Baroque Orchestra and went on to as a soloist and chamber musician in play with some of the foremost baroque Australia, Europe and South East Asia ensembles in Europe dividing her time and subsequently in the United States in between touring, recording and teaching the LA based chamber music groups, the in a career spanning 25 years. Capitol Ensemble and Pacific Serenades. In California he occupied several Principal Jane is currently principal viola with Viola positions including the Carmel Bach Brecon Baroque, La Nuova Musica and photo: Nick Gilbert Festival and Hollywood Bowl Orchestra, is regular Guest Principal Viola with and recorded for the motion picture Early Opera Company, The Hanover industry. He also performed with the Los Angeles Baroque Orchestra and the Band, The King’s Consort and the American lutenist James Tyler. photo: Marco Borggreve Academy of Ancient Music.

Since returning to Australia Simon has appeared as Principal Viola with the the She is visiting professor of Baroque Viola and Viola d’amore at the Royal Australian Romantic & Classical Orchestra, Australian Chamber Orchestra, the Academy of Music in London, the Royal Welsh College of Music and Drama, Melbourne, Adelaide, Tasmanian and Queensland Symphony Orchestras, as well The Amsterdam Conservatorium and The Royal Irish Academy of Music in as the Australian World Orchestra, Ensemble Liaison, Firebird Trio, Wilma and Dublin. She has recently qualified as a Bach Flower Remedies Practitioner with a Friends, Quartz, Trio Dali, and at the Australian Festival of Chamber Music. view to setting up workshops on performance anxiety for actors and musicians. Recent highlights have included performances in the UK at the Oxford May Chamber Music Festival, the North York Moors Festival, and performances with the Australian World Orchestra and Zubin Mehta, in Sydney, Melbourne, Mumbai, Chennai and New Delhi. He is currently a member of the Ormond String Quartet, resident quartet at the University of Melbourne, where he teaches, and directs an annual chamber music school, in Clunes, Victoria. clunesmusic.com

13 14 MIMÉ YAMAHIRO-BRINKMANN NATASHA KRAEMER VIOLONCELLO VIOLONCELLO

Mimé is one of Europe’s most prominent Natasha Kraemer is a graduate of the historical cellists. Her 2016 solo album Royal Academy of Music, London. Cello Rising was acclaimed for its A pupil of Jenny Ward Clarke, she “astounding virtuosity” (The Strad), and specialised in historical performance on was featured as Recording of the Month Baroque and Classical cello. Natasha by MusicWeb International. Her 2017 performs across the UK, Europe and chamber music album, Heroines of Love Australia with many orchestras and and Loss, won the prestigious Diapason chamber groups. These include Orchestra d’Or award in France. She is the winner of the Age of Enlightenment, The of many early music competitions, English Concert, The Gabrieli Players, including the Musica Antiqua Brugge and The Sixteen. She is principal cellist Soloist Competition (Belgium) and The with L’Avventura London, 21st Century International Competition for Original Baroque and Little Baroque Company, String Instruments in Brescia, Italy. amongst others. photo: Mats Bäcker photo: Nick Gilbert Mimé can be heard regularly across the globe as a solo recitalist and as an Since moving to Australia, Natasha is delighted to be working with the Australian orchestra musician with ensembles including Apollo’s Fire (USA), Tafelmusik Romantic & Classical Orchestra. She has also enjoyed working with the (Canada), Concerto Copenhagen (Denmark), ARCO Chamber Soloists Australian Haydn Ensemble, including a recording of Haydn orchestral works (Australia), the renowned Drottningholm Opera Orchestra (Sweden), and the (an ABC Classic FM album of the week). In 2016 she performed the complete Paul Hillier Ensemble (Denmark). Between tours, she enjoys teaching at The Beethoven Symphonies at the Sydney Festival with Anima Eterna Brugge, Royal Academy of Music in Stockholm. She holds a Performance Diploma in under the baton of Jos van Immerseel. She has played in various concerts at the modern cello from the Toho Gakuen School of Music in Tokyo, Japan, and a Peninsular Summer Festival, including chamber performances of Beethoven’s soloist diploma on both cello and viola da gamba from The Royal Conservatory Scottish Songs with Sophie Daneman, Rachael Beesley and Erin Helyard. in The Hague. Natasha’s passions extend beyond early music. Give her an excuse to jazz things up, she’ll pizz a bass line or tap her cello as a drum. When not performing, Natasha can be found behind a camera lens, or face to face with an espresso machine pursuing a fine cup of coffee!

15 16 AUSTRALIAN ROMANTIC & MANAGEMENT

CLASSICAL ORCHESTRA BOARD Professor Richard Kefford AM Chairman INSPIRE ❖ EDUCATE ❖ ENLIGHTEN Richard Gill AO, Jason Bowran, Philip Jameson, James McNamara & Liz Nield Under the artistic direction of renowned musician and educator Richard Gill AO, the Australian Romantic & Classical Orchestra (formerly orchestra ARTISTIC seventeen88) is a world-class orchestra of leading Australian musicians who are Richard Gill AO Artistic Director & Principal Conductor dedicated to the performance of Classical and Romantic orchestral and chamber Rachael Beesley and Nicole van Bruggen Artistic Team music repertoire in historically informed style on period instruments. OPERATIONS Established in 2013, the orchestra has already become a vibrant and dynamic Nicole van Bruggen General Manager presence on the Australian music scene. It provides opportunities for Kylie McRae Company Manager engagement and education with wide audiences through live performance Megan Lang Education Manager in major venues as well as radio broadcasts. The orchestra’s commitment to education is at its core: the youth orchestra, Young Mannheim Symphonists, provides young musicians with expert guidance in historically informed performance in an inspiring orchestral setting. The concert series Richard Gill Presents – A Voyage of Musical Discovery, in collaboration with a selection of PARTNERS renowned Australian small ensembles, is especially designed to bring the high- school music curriculum to life for young listeners. The Australian Romantic GOVERNMENT PARTNERS MEDIA PARTNERS & Classical Orchestra achieves its goals in education and performance by inviting leading Australian exponents of historically informed performance, many of whom are based in Europe, to come together in ever more ambitious constellations. The orchestra brings new energy and revelatory insights into Classical and Romantic music performed on instruments of the period, and is unique in the Australian musical landscape. PRODUCTION PARTNERS The combination of ongoing support from private donations, and philanthropic and government funding, has created a sustainable basis for the Australian Romantic & Classical Orchestra to invest in presenting unique performance opportunities and education projects, fulfilling its potential as an internationally renowned Australian orchestra. To allow us to continue to share historically informed performance with the community we encourage you to support the Australian Romantic & Classical Orchestra – visit arco.org.au to find out how.

17 18 DONOR WHY DONATE?

ACKNOWLEDGEMENTS THE AUSTRALIAN ROMANTIC & CLASSICAL ORCHESTRA WOULD NOT EXIST WITHOUT THE TIME, TREASURE AND THE AUSTRALIAN ROMANTIC & CLASSICAL ORCHESTRA IS TALENT DONATED BY OUR EXTRAORDINARY PATRONS. EXTREMELY GRATEFUL TO THE GENEROUS INDIVIDUALS, FAMILIES AND FOUNDATIONS WHO MAKE SIGNIFICANT Donations form a critical contribution to the orchestra’s core activities, including: CONTRIBUTIONS TO THE ORCHESTRA’S PERFORMANCE AND EDUCATION ACTIVITIES. • Educating school children in historically informed performance • Accessing historical editions of sheet music informed by the best research • Flying world-class HIP musicians to, and within, Australia THE DIRECTOR’S 10 PRINCIPAL CELLO PRINCIPAL HORN • Transporting the historical instruments to our performances around Australia Robert Albert AO CHAIR PATRONS CHAIR PATRON Roxane Clayton Kim Williams & Gail Spira What began as an act of love for historically informed performance has quickly Martin & Susie Dickson Catherine Dovey evolved into one of Australia’s finest orchestras. Our ability to continue that PRINCIPAL EDUCATION journey rests on donors who share our vision and our passion. Help us reimagine The Humanity PATRONS the rich music of the 18th and 19th centuries by making a tax-deductible Foundation & PRINCIPAL CLARINET Paul & Sandra Salteri donation to the Australian Romantic & Classical Orchestra. Talya Masel CHAIR PATRON Paul & Sandra Salteri Richard Kefford Skyblue Australia DONATION OPTIONS Large or small, all levels of financial and in-kind gifts contribute greatly to sustaining the orchestra’s performance and education acitivities. To make a one- DONORS off donation or for any donation enquiries, please visit the website arco.org.au or contact Nicole van Bruggen - General Manager: [email protected]. $5,000 - $9,999 Gow Gates Insurance Alan Philip de Penny Ferguson Laurence Miro & Boos-Smith Hugh & Sheila Mackay AO Patricia Abrahams Ailsa Eckel DONOR CIRCLES James McNamara Angus Richards John & Sari Gordon Felicite Ross Howard Gurney The Australian Romantic & Classical Orchestra has introduced as system of $1,000 - $4,999 Roger & Karen Stott Virginia Henderson patronage entitled the Donor Circles. Larger, annual donations of $5,000 or Vivian Bayl Geoff & Karen Wilson David & Philippa Jeremy more will allow you to join one of these exclusive patron groups. John & Anna Bell Dave & Jan Wood Craig Johnston Jason Bowran Annette Maluish Grahame & Beth Bunyan $500 - $999 Ann McFarlane • The Principal Chair Patrons Prof Colin Chesterman & Ian Batey Prof David McKenzie • The Concertmaster’s Chair Patron Prof Judith Whitworth Emily Booker Emma Morris • The Director’s 10 Alastair & Elizabeth Corbett Jenny Bott Leslie C. Thiess • The Conductor’s Chair Patron Dominic David Chris Burrows & Lee Harris Suellen Enestrom Prof Michael Chesterman

19 20 ARCO EDUCATION UPCOMING CONCERT

YOUNG MANNHEIM SYMPHONISTS PASTORAL MELODIES 8-13 JANUARY 2018 IDYLLIC & TEMPESTUOUS

MELBOURNE MELBOURNE RECITAL CENTRE THURSDAY 22 MARCH | 7.30PM

SYDNEY CITY RECITAL HALL SUNDAY 25 MARCH 2018 | 3.00PM

AUSTRALIAN ROMANTIC & photo: Nick Gilbert CLASSICAL ORCHESTRA photo: Nick Gilbert POLYPHONIC VOICES (MELBOURNE CONCERT) This January, Richard Gill and the Australian Romantic & Classical Orchestra will SYDNEY CHAMBER CHOIR present a course at the Melbourne Youth Music 2018 Summer School entitled (SYDNEY CONCERT) ‘Young Mannheim Symphonists’. The six day camp will be an intensive week of RICHARD GILL AO CONDUCTOR historically informed performance practice workshops and lectures, culminating in a public performance at the end of the week. WOLFGANG AMADEUS MOZART Under the baton of Australian Romantic & Classical Orchestra’s Artistic HEBRIDES OVERTURE SPAUR MESSE IN C MAJOR KV.258 Director, Richard Gill AO, and led by internationally renowned Australian ‘FINGAL’S CAVE’ (1830) ‘PICCOLOMINI’ (1776) violinist, director and concertmaster, Rachael Beesley, the MYO Summer School Young Mannheim Symphonists program will ensure participants are able to work JOHANNES BRAHMS with and learn from some of Australia’s most respected musicians in historically SONGS OP.104 (1888) SYMPHONY NO.6 OP.36 informed performance practice. ‘PASTORAL’ (1801-2)

Designed to give students the unique opportunity to delve into Classical and Romantic performance styles, participants will explore both the theoretical and “I HAVE TO CONFESS SOMETHING RIGHT HERE, AT THE VERY BEGINNING… practical aspects of performing Schubert’s mighty Eighth Symphony (‘Unfinished’), I AM, QUITE SIMPLY, IN LOVE WITH THE AUSTRALIAN ROMANTIC & along with Haydn’s ‘London’ Symphony and Mozart’s ‘Haffner’ Symphony. CLASSICAL ORCHESTRA.”CLASSIKON arco.org.au/yms | myo.org.au BOOK NOW VIA ARCO.ORG.AU

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